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The Etching Revival

Artists who took up the etching needle again, from Whistler to the Paris printmakers.

50 works · hang 5071 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. A work made of transfer lithograph in black on gray china paper.
    Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau)Édouard Manet, 1875Courtesy of the Art Institute of Chicago
  2. The Old Orchard, by Arthur A. Marschner, 1915
    The Old OrchardArthur A. Marschner, 1915Courtesy of the Smithsonian American Art Museum

Section 1, south wall

  1. A work made of color lithograph on paper.
    The Old ViolinWilliam Michael Harnett, 1887Courtesy of the Art Institute of Chicago
  2. The Cathedral, by James Ensor, 1886
    The CathedralJames Ensor, 1886Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. The image shows a landscape with a valley leading towards two mountain peaks known as the Peaks of Otter. The horizon is low, with the mountains dominating the scene. The brushwork is smooth and delicate, and the color palette consists of muted earth tones, greens, and soft blues. In the foreground, there are cattle grazing in a field with a wooden fence, and a couple of houses among trees to the left. Further back, there are open fields with horses and agricultural activities, leading to a dense tree line at the base of the mountains.
    View of the Peaks of OtterWoldemar Rau, 1858Courtesy National Gallery of Art, Washington
  2. The image shows a street scene from a close perspective down a narrow alleyway. The horizon is not visible, with buildings on both sides. The style features detailed etching with fine lines and shading for depth and texture. The color palette is monochromatic with black, gray, and off-white tones. The houses have worn facades, and there is a distant figure. The sky is dark and overcast, enhancing the shadow-filled scene.
    Street in SaverneJames McNeill Whistler, 1858Courtesy National Gallery of Art, Washington
  3. In proof of true love, a watercarrier skeleton arguing with a woman (Posada); two skeleton angels in upper corners (Manilla), by José Guadalupe Posada, ca. 1890–96
    In proof of true love, a watercarrier skeleton arguing with a woman (Posada); two skeleton angels in upper corners (Manilla)José Guadalupe Posada, ca. 1890–96Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. A work made of photogravure in dark brown retouched with soft varnish (vernis mou), roulette and blue handcoloring on thick cream wove paper.
    Modern MasksFélicien Rops, 1889Courtesy of the Art Institute of Chicago
  2. The Petit Pont, by Charles Meryon, 1850
    The Petit PontCharles Meryon, 1850Courtesy of the Cleveland Museum of Art
  3. Untitled, by Mildred McMillen, 1915
    UntitledMildred McMillen, 1915Courtesy of the Smithsonian American Art Museum

Section 3, north wall

  1. This print displays a landscape with a wide view of flat land stretching towards the horizon. The ground is covered in small black dots, with some bare patches in the bottom center. A few silhouetted trees and a hint of smoke coming up from behind some rocks are visible in the distance. The gray sky dominates the scene with soft, swirling clouds.
    LowlandsTimothy Cole, 1918Courtesy National Gallery of Art, Washington
  2. The image features a large building with a domed tower on the right side. The horizon shows hills, trees, and the sky. The brushstrokes give detailed texture to the scene, with a focus on the landscape and architecture. The color palette is sepia-toned. A tree, fence, smaller buildings, and a figure on a path add depth and perspective to the scene.
    Mission Santa Barbara, Looking SouthHenry Chapman Ford, 1888Courtesy National Gallery of Art, Washington
  3. The image shows a small body of water with grass-covered banks on either side. The viewpoint is slightly elevated, looking down at the scene. The horizon is in the upper third of the composition, separating the sky from the land. The artwork features intricate linework and stippling to create texture and detail, particularly in the tree branches. The color palette is monochrome, with shades of sepia and brown. A tree dominates the right side of the scene, leaning over the water. In the distance, more trees and fields are visible with minimal detail in the far background.
    Apple Trees along the Side of a DitchPieter Dupont, 1894Courtesy National Gallery of Art, Washington

Section 3, south wall

  1. The image displays a harbor filled with boats and ships. The perspective is slightly elevated, likely from a dock, with a partially visible boat and dock at the forefront. The horizon is in the upper third of the image, showing a distant cityscape with spires and structures. The brushwork is delicate, with fine, linear strokes typical of etching. The color palette is monochromatic, sepia tones creating a vintage and serene mood. The ships with tall masts populate the water, with reflections giving a sense of stillness. In the distance, faint impressions of buildings line the harbor, blending into the horizon.
    San GiorgioJames McNeill Whistler, 1880Courtesy National Gallery of Art, Washington
  2. The image shows two individuals seated outdoors near a body of water with their feet submerged. Both individuals are seen from head to toe. The person on the left is seated with a slightly hunched posture, reading a document or a book. They have a balding head, wear glasses, a dark suit with the coat draped over their knees, and a top hat placed on the ground. The individual on the right is sitting upright with a scarf over their hair. They wear a long dress with a shawl, and their hands rest on their lap. The background features a bare tree and a rough, sketched environment. The sky and landscape are depicted in shades of light and dark.
    Une lecture intéressante et rafraichissanteHonoré Daumier, 1854Courtesy National Gallery of Art, Washington
  3. Nocturne (Nocturne: The Thames at Battersea), by James McNeill Whistler, 1878
    Nocturne (Nocturne: The Thames at Battersea)James McNeill Whistler, 1878Courtesy of The Metropolitan Museum of Art